Suche:veg

DJ Support: David Morales, Louie Vega, Hector Romero, Dave Lee ZR,Tony Humphries, Kevin Yost, Jimpster, Atjazz, Ron Trent, Dj harvey.

Considered the Master of Italo piano house, Don Carlos is up next on friends Micky More & Andy Tee's label Groove Culture Deep with an EP of Finest Classic Piano house.Features the amazing, warmup Classic House of ‘Italian Paradise Piano’ followed by the Deep heater ‘Soul Emotion' and The Garage Late-night ‘Good Emotion’(Vocal Mix) on the A-side. The flip offers ‘Paranoia’(Piano Edit) and ‘Good Emotion’(Paranoia Mix) both tracks perfectly capture the zeitgeist of house music's golden era of late 80’s early 90’s.

The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner's extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising.

So Sner’s critically acclaimed debut album REIME (TAL26, 2021) was celebrated for its innovative fusion of bass clarinet and electronic sounds in unexpected and surprising ways. With The Well, the duo explores both fluid and dissonant sonic landscapes, embracing different structural and sonic challenges. The result is a quieter, more introspective set of compositions than many might have anticipated. The album is a statement of two confident collaborators crafting complex, spatial musical moments in their own distinct manner.

The music on The Well generates a multiplicity of effects that transcend conventional oppositions such as hand-played versus programmed, composition versus improvisation, or analog versus digital. The album suggests a re-articulation of these categories, allowing the ten tracks to gradually blend one musical idea into another, and one musician into another, in a circular and complementary fashion. The polymetric permutations and exploratory reed components create a soundscape where all elements coexist harmoniously, without compromising or diminishing each other’s presence.

With its sparse sound architecture, The Well invites listeners into a space of effective emptiness, offering room for the mind and body to explore—a sonic island where one can develop sensuality through patient movement.

For So Sner, live performance is a passion of the mind, and since they began working together in 2020, their music has taken them to many different places. The live experience has deeply influenced the recorded music on this album, with the interplay between live performance and studio work informing their creative process. The Well captures the genuine act of exploring new territories, serving as a storage place for the time and space shared by the duo, re-filtering their experiences of performing and traveling together.

The Well is a lucidly playful and ambitious album by two contemporary musicians who are continually learning to create and respond to the subtle and significant changes in their music, maintaining momentum throughout the entire work.

In addition to her work with So Sner, Susanna Gartmayer has recently collaborated with artists such as Joe McPhee and Maria Portugal, and remains a member of her long-running band, the Vegetable Orchestra. Stefan Schneider, founder of the label TAL, has recently performed with Garth Erasmus from Cape Town and fine art luminary Katharina Grosse.

2024 Repress
For Frenzy's third release, and the first solo release, the Uruguay-based William Arist is introducing us to his world of 'tribal techno'. Hailing from the city of Montevideo, this Southern-American-born artist already is a talent to watch overseas. Through their like-minded vision of electronic music, William bonded strongly with our Amsterdam-based Frenzy crew over the last couple of years. This warm connection evolved into Frenzy 03 - showcasing pure dance floor eclecticism that only William can deliver, including two remixes by no other than VIL and rising star Kenji Hina aka Alarico.

The A side instantly kicks off at full good vibe-throttle with two productions that reminisce about those iconic Love Parade moments during the very first days of rave culture. Balancing on the edge of house and techno, 'Chaka Chaka' loops the listener into a straight sense of movement. With rhythmic drums and uplifting vocals, 'Days' feels like stepping into an after hour dance-floor at the beach while the morning sun rises through the exotic vegetation. On the B side, William leans towards a more hypnotic sound. With a great tempo and a dark yet subtle mood, 'Tero' sets the tone for those murky clubbing moments where the boundaries dissolve and bodies merge. Slowly climbing out of the deep, 'Gultural' stays on the same energy level while adding dubby hints and a taste of freshness.

To top it off, the release is provided with two remixes that leave no room for interpretation. Portuguese producer VIL turned 'Chaka Chaka' into a true peak-hour beast while Italian multi-talent Alarico shows his versatile skill set with a speedy house remix of 'Gultural' under his Kenji Hina alias.

1980 in Las Vegas gegründet, zog es M.I.A. 1981 nach Orange County wo sie begannen Shows im berüchtigten Cuckoo's Nest zu spielen. Sie veröffentlichten erstmals zusammen mit Genocide das mittlerweile klassische Split-Album Last Rites For... auf Smoke Seven in 1982. Nach einer kurzen Pause kam die Band 1983 wieder zusammen und nahm im November in den Greencarton Studios ein Demo mit sechs Songs auf. Sie wurden schnell für ihre energiegeladenen Live-Shows bekannt, bei denen sie schnellen, gitarrenbetonten Hardcore mit der einzigartigen melodischen Stimme von Sänger Mike Conley und dem typischen südkalifornischen Punk-Sound verbanden. Nach einem Auftritt mit den Dead Kennedys bot Jello Biafra an, ihr nächstes Album Murder In a Foreign Place im Sommer 1984 auf seinem Label Alternative Tentacles zu veröffentlichen. Später veröffentlichte M.I.A. noch Notes From the Underground (National Trust 1985) und After the Fact (Flipside 1987). Anlässlich des 40-jährigen Jubiläums des Albums hat sich Modern City Records mit Alternative Tentacles zusammengetan, um ,Murder In a Foreign Place" im Jahr 2024 wieder auf den Markt zu bringen. 19 Tracks umfasst das Reissue, welches neben dem Originalalbum auch zwei Studio-Out-Takes und die kompletten Demos von Greencarton enthält. Der unveröffentlichte Track Help Me Up erscheint hier zum ersten Mal überhaupt! Rotes Vinyl mit roter Schrift auf dem Cover-Artwork! Inklusive 24seitigem Booklet und Insert.

1980 in Las Vegas gegründet, zog es M.I.A. 1981 nach Orange County wo sie begannen Shows im berüchtigten Cuckoo's Nest zu spielen. Sie veröffentlichten erstmals zusammen mit Genocide das mittlerweile klassische Split-Album Last Rites For... auf Smoke Seven in 1982. Nach einer kurzen Pause kam die Band 1983 wieder zusammen und nahm im November in den Greencarton Studios ein Demo mit sechs Songs auf. Sie wurden schnell für ihre energiegeladenen Live-Shows bekannt, bei denen sie schnellen, gitarrenbetonten Hardcore mit der einzigartigen melodischen Stimme von Sänger Mike Conley und dem typischen südkalifornischen Punk-Sound verbanden. Nach einem Auftritt mit den Dead Kennedys bot Jello Biafra an, ihr nächstes Album Murder In a Foreign Place im Sommer 1984 auf seinem Label Alternative Tentacles zu veröffentlichen. Später veröffentlichte M.I.A. noch Notes From the Underground (National Trust 1985) und After the Fact (Flipside 1987). Anlässlich des 40-jährigen Jubiläums des Albums hat sich Modern City Records mit Alternative Tentacles zusammengetan, um ,Murder In a Foreign Place" im Jahr 2024 wieder auf den Markt zu bringen. 19 Tracks umfasst das Reissue, welches neben dem Originalalbum auch zwei Studio-Out-Takes und die kompletten Demos von Greencarton enthält. Der unveröffentlichte Track Help Me Up erscheint hier zum ersten Mal überhaupt! Limitiertes blaues Vinyl mit blauer Schrift auf Cover-Artwork plus 24seitigem Booklet!

1980 in Las Vegas gegründet, zog es M.I.A. 1981 nach Orange County wo sie begannen Shows im berüchtigten Cuckoo's Nest zu spielen. Sie veröffentlichten erstmals zusammen mit Genocide das mittlerweile klassische Split-Album Last Rites For... auf Smoke Seven in 1982. Nach einer kurzen Pause kam die Band 1983 wieder zusammen und nahm im November in den Greencarton Studios ein Demo mit sechs Songs auf. Sie wurden schnell für ihre energiegeladenen Live-Shows bekannt, bei denen sie schnellen, gitarrenbetonten Hardcore mit der einzigartigen melodischen Stimme von Sänger Mike Conley und dem typischen südkalifornischen Punk-Sound verbanden. Nach einem Auftritt mit den Dead Kennedys bot Jello Biafra an, ihr nächstes Album Murder In a Foreign Place im Sommer 1984 auf seinem Label Alternative Tentacles zu veröffentlichen. Später veröffentlichte M.I.A. noch Notes From the Underground (National Trust 1985) und After the Fact (Flipside 1987). Anlässlich des 40-jährigen Jubiläums des Albums hat sich Modern City Records mit Alternative Tentacles zusammengetan, um ,Murder In a Foreign Place" im Jahr 2024 wieder auf den Markt zu bringen. 19 Tracks umfasst das Reissue, welches neben dem Originalalbum auch zwei Studio-Out-Takes und die kompletten Demos von Greencarton enthält. Der unveröffentlichte Track Help Me Up erscheint hier zum ersten Mal überhaupt! Limitiertes blaues Vinyl mit blauer Schrift auf Cover-Artwork plus 24seitigem Booklet!

Blu’s music has been championed by outlets like XXL, Pitchfork, Okayplayer, HipHopDX, and more. In recent years, he has been interviewed by Billboard, Complex, LA Weekly, Noisey, Red Bull Music Academy, and more. Blu has collaborated with prominent artists like The Roots, Logic, Miguel, MF DOOM, Madlib, Anderson .Paak, Lupe Fiasco, Freddie Gibbs, Aloe Blacc, Roc Marciano, Slum Village, 9th Wonder, and more. Classic 2014 album on gatefold 2LP vinyl, now available after years out of print. Good To Be Home features guest appearances by Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, Chace Infinite, Cashus King, and more. L.A. rapper Blu burst onto the scene in the late 00s with the widely acclaimed Exile collaboration Below The Heavens, igniting a West Coast hip-hop renaissance in the process. With his cool Cali demeanor and undeniable lyrical talent, Blu drew praise from fans and tastemakers alike, launching a remarkable career that continues thriving to this day. His first ever double album, the 2014 masterpiece Good To Be Home is an essential part of this story. An unapologetic celebration of Los Angeles music and culture, the album takes listeners on a vivid journey through Blu’s storied stomping grounds. With sweeping strings and hypnotic bass lines supplied by producer Bombay, Good To Be Home features a host of West Coast hip-hop luminaries, including Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, and more. A cohesive collection with 20 tracks and no filler, this classic release is now available again on vinyl after years out of print.

"A group of tried-and-true musicians got together and found the sort of camaraderie and kinship you typically only find once in a lifetime. They didn’t overthink it. They didn’t waste a second. They simply left their blood, sweat, and tears on tape—like they’ve always done. For as much as Better Lovers represents the union of former Every Time I Die members Jordan Buckley guitar,Steve Micciche [bass], and Clayton “Goose” Holyoak [drums] with The Dillinger Escape Plan and Killer Be Killed frontman Greg Puciato [vocals],and musician (Fit For An Autopsy/END) and GRAMMY® Award-winning producer, Will Putney [guitar], it really cements the bond of five friends around a shared vision. That vision is as uncompromising, unapologetic, and undeniable as anything they’ve individually done, yet it’s refined by experience and a commitment to a future together. They’re in it for the long haul... “To me, this band is refreshing,” exclaims Jordan. “Looking back, I’m so happy everything got me to where I am. The pandemic and the last few years made me hungrier and more grateful. This isn’t a hobby. This isn’t temporary. This is the next evolution for each of us. Greg and Will rejuvenated me and made me even more confident.



Now, everybody needs to know we’re a wild animal that just broke out of the zoo—there’s no trying to put it back in the cage.” “Better Lovers definitely feels like its own thing,” states Greg. “I’m in so many lanes right now, so it was important that one lane didn’t step on another. However, nothing I’m doing is this vicious. This is full-on scathing. It’s been really fun. I forgot how much I liked that.” As the story goes, Jordan ended up back in Buffalo, NY, jamming in a basement rehearsal spot with Steve and Goose during the winter of 2022. After working with Will on the last two Every Time I Die records, they shared a handful of early demos with him to produce. As the year progressed, Jordan caught Greg on the road with Jerry Cantrell in Las Vegas, mentioning the new music. Once ideas solidified, he shared them with the vocalist who replied at 3am one night in December. “The text said, ‘Let’s give these motherfuckers what they want’,”chuckles Jordan. “I went to bed smiling and laughing. There is no one like Greg on stage, off stage, or over text. Once I told Will, he was like, ‘Can I play?’ We said, ‘Of course!’ That’s how it was born.” “Once I pick up the scent, I’ll go for the kill,” smiles Greg. “We’ve all hung out, gotten to know each other, and it’s all fire now. Everyone has already been through shit. You know yourself better. Your ego isn’t as big as it used to be. You can share your opinions. It’s a cool dynamic.” Fittingly, they introduce this era with the single “30 Under 13.” A seasick guitar groove bleeds into an incisive riff punctuated by Greg’s vitriolic and venomous screams, “Hold onto me, try to let go of me, let go of what you’ll never be. ”This barrage unpredictably subsides on a haunting clean vocal, only to ramp back up into a pit-splitting thrash crescendo and rapid-fire solo played at warp speed. “We always try to up our game,” notes Jordan. “This is the next step for all of us. There’s just constant forward motion, and we don’t want to compromise that. We want to keep going. We’re doing a lot of shit we haven’t done before in Better Lovers. I’m not going to spoil it for you, but get ready.” “For some reason, this song got me,” recalls Greg. “Once that happens, you have the toe of the dinosaur skeleton in the dirt. You start brushing it away, and soon you have a fucking T-Rex.” The name might give you a hint of what’s coming—or it might not. So, what does the future hold for Better Lovers? Well, it’s entirely in their control. Expect a lot of touring. Expect more music. Expect these five guys to leave a trail of destruction in their wake—really would you want anything less? “We feel like we’re going to explode if we sit around any longer,” Jordan leaves off. “This is my life’s work. I learned all of my lessons, passed all of the tests, and took all of the right turns and the wrong turns. It turns out what I thought were wrong turns got me here, and that’s all that matters. I have no regrets. I know this is what I’m supposed to be doing.” “I just want you to view this on its own merits,” Greg concludes. “I hope it reaches some new people. For me, the enjoyment is making the music and putting it out. The second it’s released, I don’t look back. You drop the bomb and keep flying the plane. You don’t circle back to see how much destruction you cause. You keep moving, which is what we’re going to do.” "

From Cape Town to Cairo, and now to fans, stages and screens around the world, PJ Morton shares his newest album, fully made in the motherland. Cape Town to Cairo is a collection of songs that he created in 30 days throughout 4 countries in Africa — South Africa, Nigeria, Ghana and Egypt. Described as the best trip of his life, this transformative journey began as just the seed of an idea last fall, but instantly grew into his most sonically-sprawling and immediately-inspired record to date. With no music, lyrics or preconceptions, he stepped foot onto the continent with two thoughts: a wild dream to write and record his next LP in less than a month, and a mission to immerse himself in as many different cultures, stories and communities as he could.

Surrounded by featured collaborators like Fireboy DML, Mádé Kuti, Asa, Ndabo Zulu, and Soweto Spiritual Singers, as well as additional producers including P.Priime and The Cavemen., his own live band and local musicians, PJ Morton used music as his common language. Always his greatest way of communicating, he expressed his feelings and experiences of Africa through songs he and others were forming together on the spot, side-by-side in different studios, cities and towns for the very first time. None of the tracks were written before he arrived or after he left, and the arrangements showcase both the countries’ native genres as well as the innate, stylistic instincts that have made Morton a 5x GRAMMY-winner and 20x GRAMMY-nominee, whether it be his soul, R&B and gospel roots, or the pop prowess he has further honed as a member of Maroon 5.

“When you’ve been in music as long as I have, you’re constantly looking for inspiration,” says PJ Morton. “And you’re looking for the things that made you want to do it in the first place. I’ve made albums every type of way you can think, so I wanted to try something I hadn’t done before. As a Black American who had never been to South or West Africa, I knew there was something there waiting for me. So I put a little pressure on myself to make a full record in a month, but I also said, ‘If I’m gonna go to Africa, I want to see Africa.’ We made music, but we also formed connections. We made new friends, and this is just the start.”

ESSENCE adds, "This trip is not just a physical move, it's a spiritual return…The soul of Africa pulses through every note he plays and every word he sings,” and VIBE adds that “the multi-faceted artist is fully embracing a new phase in his life.” Cape Town to Cairo marks PJ Morton’s first album since 2022’s Watch The Sun, which featured collaborations with Stevie Wonder, Nas, JoJo, Wale, Jill Scott, Alex Isley and more. Since then, Morton has become the first Black composer to write an original song for a Disney attraction, having just finished making the music for Tiana's Bayou Adventure, opening on June 28th, 2024 at Disney World and Fall 2024 at Disneyland. He also won his latest GRAMMY earlier this year, worked with Samara Joy on “Why I’m Here” for Regina King’s Netflix film Shirley, and landed a cover of his song “Don’t Let Go” as the soundtrack to Apple’s iPhone 15 commercial.

PJ Morton recently returned from headlining his debut shows in Asia, New Zealand and Australia, and announced an extensive Cape Town to Cairo Tour for North America summer and fall 2024. Following iconic performances at New Orleans Jazz Fest, The Kennedy Center, Roots Picnic and Newport Jazz Fest, Morton will embark on a run of more than 25 dates across the country, including New York City’s Beacon Theatre, Chicago’s Chicago Theatre, Nashville’s Ryman Auditorium, Los Angeles’ The Wiltern, and dozens of others.

On the heels of his headline tour and Maroon 5’s Las Vegas residency, PJ Morton will publish a life-spanning new book titled Saturday Night, Sunday Morning. The memoir sees him recounting and reflecting upon a trailblazing path that continues to defy expectations and straddle the tensions of music and faith, race and culture, expression and identity. As the son of two pastors and gospel artists, Morton grew up grounded by the sound of the Church, but soon found himself drawn to R&B, pop and soul, writing songs that the industry, his family and community struggled to understand. In the face of mounting pressure, rejection and constant miscategorization, he committed himself to a steadfast path of independence: making music on his own terms, launching his own record label, joining one of the biggest bands in the world while staying true to his New Orleans roots. The risks he took paid off, and through his transformation from preacher's kid to the busiest man in showbiz – performing everywhere from his local congregation to the Super Bowl, collaborating with everyone from his father to Stevie Wonder, Erykah Badu, Jon Batiste and Lil Wayne – he hopes to encourage readers and listeners to overcome obstacles as they seek their dreams.

JD McPherson has created something unique and amazing with his latest album, Nite Owls. His first album release since 2018’s critically acclaimed Christmas classic, SOCKS. Over the past 5+ years, McPherson has stayed consistently busy writing new songs while at the same time touring with Alison Krauss and Robert Plant. Being a touring musician offers the chance to see the sights, tour the town and pick up some inspiration from the local record shop. With Nite Owls, JD wanted to try something new and different. He wanted to take the inspiration from multiple decades and styles and incorporate them into his own sound. “The initial idea for the record was: It’s like if The late-60s Ventures were the session band on the first New Order record.” Says, McPherson. Idea achieved. Nite Owls delivers the signature sounds of vintage garage-rock while also seamlessly bridging the sounds of Bowie and Alan Vega. Songs such as “Sunshine Getaway”, “The Rock and Roll Girls” and “I Can’t Go Anywhere with You” sound like Chuck Berry is jamming with Buddy Holly. While song’s like, “Nite Owls” and “Don’t Travel Through the Night Alone” give a nod to the Factory sound from the UK. The throwback sound of the lone instrumental track “The Phantom Lover of New Rochelle” would make Dick Dale ride and Link Wray rumble. With Nite Owls, McPherson takes inspiration from multiple genres of the past and combines them together to evolve a sound that is all his own.

Picture a time when you could have a good time all the time. It was an era when fast cars rolled under neon lights, yachts were a sensible housing decision and fighting for your right to party was a full time occupation. This mythical age had an equally flamboyant soundtrack to match, and it blared from boomboxes and dashboards in every time zone. It was the 1980s, and bands like Van Halen, Toto and Def Leppard personified a summertime sound built on big beats, bigger melodies and choruses so epic that singing along was the law, and places like Vegas, Hollywood, and Miami Beach became hedonistic epicenters of a global, sonic heatwave.

Saint Julian had established Julian Cope as something of an establishment anti-hero and audiences, who'd been reacquainted with him were expecting more of the same. Instead, Cope changed his band line-up and attempted to mix funk and Krautrock on his new material; Chris Blackwell paired him with veteran US producer Ron Fair. The album produced three singles including "Charlotte Anne" which was a minor hit in the US. Album opener, "5 O'Clock World", a cover of a 1965 Vogues song, is light and poppy and the seven-minute title track, complete with strings and a harmonica solo, is one of the greatest (and perhaps only) attempts to merge go-go beats with post punk. There is a great deal to enjoy on My Nation Underground, underlining as it does Julian Cope's desire to continually push the envelope. My Nation Underground is an album ripe for rediscovery - This re-issue faithfully replicates the original 1988 Mercury Records UK release and is pressed onto high quality 180g vinyl.

Vegyn veröffentlicht auf seinem zweiten Album 'The Road To Hell Is Paved With Good Intentions' erhaben gestaltete Songs, die menschliche Unvollkommenheit zulassen, während sie auf einem Grat zwischen Hochgefühl und Melancholie schwanken - mit Gastbeiträgen von John Glacier, Léa Sen, Matt Maltese, Lauren Auder und Ethan P. Flynn. Das formverändernde Schaffen des britischen Produzenten tendiert gerne zum Exzess, wie bei der Zusammenarbeit mit Rap- und R&B-Topstars (Frank Ocean, Travis Scott, Kali Uchis) oder seinen 70-Track-Mixtapes. Im Gegensatz dazu entstand das neue Werk aus einem Raum frei fließender Experimente mit einer leichten Note. Bisher charakteristische Schnörkel und BPM-Änderungen treten gegenüber Melodie und Struktur in den Hintergrund. Oder wie Vegyn es selbst ausdrückt: 'Ich versuche einfach, interessante Songs zu machen – und das Gefühl stand im Mittelpunkt.'

After the highly anticipated debut album “Sugar Honey Iced Tea!,” the dynamic NYC duo strikes once more with a double pack of alternate versions and remixes. Craig Handfield and Brandon Weems, better known as musclecars, have unveiled a dance music masterpiece, now graced by the touch of house music legends Louie Vega and Maurice Fulton.

This double pack showcases multiple versions of “Tonight,” remixed by dance music maestro Louie Vega, who momentarily stepped away from his Masters At Work ventures to infuse this project with his magic. The main remix unfolds like an epic journey adorned with orchestral elegance, while the dub versions range from festival anthems (NV South Jersey Mix) to tracks that echo the early Masters At Work essence (Louie Vega’s Bronx Dub).

Additionally, we are gifted a new version of “Hello?” reimagined by Maurice Fulton. In this version, Maurice’s signature live bass lines intertwine with exuberant, hard-hitting percussion, casting a whimsical light on the deep, introspective original.

Complementing the remixes from musclecars’ esteemed inspirations, we encounter two new versions of “Ha Ya! (Eternal Life)” and “Water,” both stripped of percussion to reveal the stunning arrangements, textures, and harmonies. These renditions are accompanied by a full side of musclecars’ dance odyssey “I Don’t Remember The Last Time I Saw Stars.”

The Double Honey Pack is a tour de force. It’s a rarity to witness two legends unite to elevate an already stellar project, yet Vega and Fulton achieve just that. Meanwhile, Weems and Handfield meticulously peel back the layers, allowing the intricate details to shine. This promises to be the release of the summer!

Robyn Hitchcock is a rock’n’roll surrealist. Born in London on March 3rd, 1953 he describes his songs as “pictures you can listen to”. As much a child of Dali, De Chirico, and JG Ballard as of his 1960s musical heroes, he is a master of the absurd, reveling in the beauty of the unexpected. His first publicly visible band The Soft Boys (1976 - 81) has remained an influential art-rock touchstone for generations of musicians. “I just want to be an obscure cult fringe,” he told the NME in 1978; the NME didn’t believe him, but he’s been true to his ambition. Without ever breaking the surface of pop culture Hitchcock has floated at a tangent to the mainstream for nearly 5 decades. His songs have been performed by REM, The Replacements, Neko Case, Gillian Welch & David Rawlings, Lou Barlow, Grant Lee Phillips, Sparklehorse, and Suzanne Vega with the Grateful Dead among others. A confirmed outsider, he nonetheless has devoted listeners around the world who attend his concerts, and also tune into the online streaming shows Robyn seasonally does with his wife, the singer Emma Swift. In 1996 he was the subject of Jonathan Demme’s in-concert film, ‘Storefront Hitchcock’. Robyn Hitchcock came of age in the 1960s when he attended Winchester College, an eccentric hothouse boarding school in the south of England. This is the subject of “1967”, which is both a memoir and an album, due for release in June this year. The memoir is a book “1967: How I Got There And Why I Never Left”, describing how the music of Bob Dylan, The Beatles, Jimi Hendrix and others drastically transformed the direction of his life when he left home for this strange new world. The companion record album “1967: Vacations In The Past” is a selection of the (mostly) hit songs of that year, re-recorded acoustically by Robyn with the help of some friends in Cambridge, San Francisco, and Sydney. He is currently preparing new material to release in 2025. “I like to keep busy”, he says: “We have all eternity to not exist”.

"A change of speed, a change of style. A change of scene,without regrets."
-Ian Curtis
Ursa Minor is a constellation in the northern hemisphere. It shares the same name as the Big Dipper, because its tail resembles the handle of a spoon: it consists of seven stars in the shape of a car; Four of them form what is the deep part ofthe car and the other three are the handle of the car. It occupies an area of 255.9 square, in which it contains a total of 39 NGC objects.
The best-known element of the Little Dipper is the polar star, called Polaris, which is located approximately in the extension ofthe Earth's axis, so that it remains almost fixed in the sky andmarks the geographic north pole.
Principal stars:
α – Polaris, β – Kochab, γ – Pherkad, δ – Yildun, ε, ζ, η

Wildly acclaimed Grammy-winning artist Flume returns with a
new album, ‘Palaces’, on Transgressive Records.

‘Palaces’ began to take shape when Flume returned to his
native Australia after struggling to write music in Los Angeles at
the beginning of the pandemic. Settling in a coastal town in the
Northern Rivers region of New South Wales, Flume quickly
found the inspiration he needed through reconnecting with the
nature around him - the rolling hills, walking around barefoot,
the green colour the sky turns before a big storm, growing and
eating his own vegetables, the smell of rain.

He and his neighbour and long-time collaborator, the visual
artist Jonathan Zawada, became fascinated by the local wildlife,
in particular the birds, collecting field recordings that ultimately
worked their way in to the album. As Flume continued to forge a
strong connection to his surroundings, the album he wanted to
make started to form, eventually adopting a title to properly
highlight the luxury and magic of the natural world.

‘Palaces’ is his most confident, mature and uncompromising
work to date, a true testament to nurturing the relationships that
make us whole and bring us peace.

The album features a host of vocalists and collaborators, its
cast list spanning new and household names from around the
world - breakout US star Caroline Polachek, British polymath
icon Damon Albarn, Spain’s Vergen Maria, France’s Oklou and
fellow Australian Kučka, who returns following her standout turn
on ‘Skin’.

Deluxe CD including two exclusive bonus tracks in 6-panel
heavyweight board digipack with tube pocket and 8-page
booklet. Matte finish on digipak board with glossy spot UV
finish.

CD digipack with poster insert.

Black 180G double vinyl in widespine jacket with full colour
centre labels and digital download card.